Indonesian Civilizations

Raja Ampat, Papua

2008-10-28T16:00:00.002+07:00

Indonesia Diving, Raja Ampat Island "The incredible reef and fish"

Raja Ampat Island is the most western district of the Indonesian province of Papua. Raja Ampat consists of an area surrounding four major island off the western coast of Birds Head Panisula of New Guinea Island. The western half of which is Indonesia and the eastern half, Papua New Guinea. The province was called Irian Jaya, and its a cluster of over 1500 small Islands.

Raja Ampat is the most bio-diverse location in the world more than 3000 species of fishes and over 300 species of corals have been identified here, in a single one and half hour dive you can identified more than 282 fish species and more than 400 species. Till this very day the area is virtually unexplored and unknown due to its size. This area as there are still many remnants of WW II.

The Roughest seas and decreased visibility in the Raja Ampat area are from mid-June until the end of August. During the rest of the year, the sea is mostly very smooth whit good visibility.

Dive sites in Raja Ampat Island:

Kri Island: Kri has several sites and Cape Kri is one of the fishiest. The fish numbers and variety are truly amazing. The site is current dependent. Generally it's a steep slope with beautiful coral growth, lots of reef and schooling fishes, including the giant Queensland Grouper.
Sardine Reef: Sardine Reef has really giant clams at 10m (33ft) but it's all about non-stop fishes here. There's a resident school of bumphead parrotfish in the shallows, colorful soft corals and plenty of critters.
Kaboei Bay Rock Islands: The bay is a labyrinth of rock islands. Visibility isn't great but this is a great place for macro and finding odd nudibranches, mollusks and the pictured dragonet. Bat caves and skeletons are found on some of the islands.
The Passage: This is a drift dive through a narrow channel near Waigeo. Look for archerfish among the mangroves, orange cup corals, seahorses, and percula clownfish.
Fam Island: Several sites near Fam have stunning coral growth. Sponges and soft corals add color and fishes keep it going. Sites include walls, sloping reefs, and muddy bays.
Misool: Misool is awash in fish life and huge sea fans. Caverns and boulders mark several sites. The schooling fishes seem endless and pygmy seahorses live in less than 10m (33ft). Some sites are current dependent.

At a Glance Irian Diving

Reef type: Vertical walls, Lagoon channels, caves, platform reefs, etc.
Access: By boat from base camps.
Visibility: Very good, 20-45 meters.
Current: Moderate, excellent for drift diving.
Coral: Excellent " abundant & divers.
Fish: Variety & abundance guaranteed.
Highlights: Snorkeling with dolphins near the Wai base camp (5m); White-tip sharks under P47B wing; finding new wrecks untouched/complete.

It is easiest to fly through to Sorong via Jakarta or via Singapore. Merpati, Pelita and Lion/Wings Airlines operate daily flights from Jakarta to Sorong (with stopovers in Ujung Pandang/Makassar and/or Manado), whereas Silk Air operates regularly from Singapore to Manado. Daily flights to and from Sorong by Airlines Merpati, Lion/Wings or Pelita.

Raja Ampat Island have several accommodations whit traditional design, and there many boat you can rent for a stay. If you using dive operator they will arrange for your base came.

Raja Ampat islands have a very diverse topography with steep mountain shores and deserted white sand beaches. Explore the land on foot. Use a boat to move from one dive site to another dive site.

There are several restaurants and cafes throughout Sorong. Try their specialties: traditional irian foods!

There are many traditional souvenirs made from wood.

You can visit gorgeous waterfalls, ancient burial sites, bat caves and stunning waterways breathtaking limestone landscapes and Manta ray spotting and bird watching.

To enter Papua itself, you need a surat jalan (Travel Permit) which is issued by the local police. Please bring: 3 Passport Photos, 3 Copies of the photo page of your passport and 3 Copies of the passport page with the Indonesian Visa.
Guide Book : Diving Indonesia (a guide to the world's greatest diving), Periplus Action Guide, Kal Muller.
More Information about Irian Jaya Dive, contact: Sorong, Indonesia Office: Papua Diving. Phone: +62 (411) 401 660, Fax: +62 (951) 325 274. www.Iriandiving.com

Minagkabau, West Sumatra

2008-09-16T12:43:00.001+07:00

West Sumatra is one of the most beautiful areas of Indonesia. It is mountainous and divided by three valleys. There are lovely lakes and spectacular volcanoes. But Minangkabau land is very special and has the most friendly population group of Indonesia. They love to talk with visitors and will tell us about their unique society. If a visitor tries to understand the culture and Minang traditions he will soon feel himself a member of the clan. He will be invited as a guest to their homes - a unique way to become acquainted with real Indonesian life. Most of our hosts and hostesses are English teachers so language will not be much of a problem. They will show us the community and explain their customs.

The land of the Minangkabau, West Sumatra has a distinct culture, which distinguishes it from the rest of the island. A land of scenic beauty with blue green lakes and mountains, West Sumatra's Centre of culture and tourism is Bukittinggi in the highlands, north of the provincial capital of Padang. Most prominent in the landscape is the horn-shaped roofs of the houses nestled in the coconut groves. The name Minangkabau means triumphant buffalo. It leads a community and family life based on a matrilineal system, which clusters around mosques and the traditional houses. As it is the women who have the properties, the men are known for their wanderlust and entrepreneurship. Traveling is considered a mark of success and therefore many of them are found "merantau" (emigrated) to other parts of the country. This is proof that many Minang or Padang restaurants, serve very spicy food, found in all major towns in the nation. The people are hospitable and eloquent in a poetic style of speech and ceremonies. Festivals are colorful occasions.

West Sumatra has a coastline where the capital is situated. The hinterland is a range of high mountains, which dip into picturesque valleys and lakes. Amongst them are the remnants of the old Minangkabau kingdom of Pagaruyung, (the art centers for silver, hand-weaving, embroidery and woodcarving).

Geographically
West Sumatra province has about 49,778 sq km width, which is located between 0o 54' North Latitude and 3o 30' South Latitude and between 98o 36' and 101o 53'. The boundaries of this regency is:
North Side: Riau Province
South Side: Indian Ocean
West Side: North Sumatra Province
East Side: Jambi and Bengkulu Province

Wide Area
West Sumatra Province has 42,297.30-km2 areas. The West Sumatran coastline faces the Indian Ocean and stretches 375 km from North Sumatra province in the northwest to Bengkulu in the southeast. West Sumatra lakes include: Maninjau (99.5 km2), Singkarak (130.1 km2), Diatas (31.5 km2), Dibawah (14.0 km2), Talang (5.0 km2). West Sumatra rivers include: Kuranji, Anai, Ombilin, Suliki, Arau. The mountains & volcanoes of West Sumatra are included: Marapi (2,891 m), Sago (2,271 m), Singgalang (2,877 m), Talakmau (2,912 m), Talang (2,572 m), Tandikat (2,438 m).

Climate
The temperature of West Sumatra province has ranges between 22o C and 32o C, and the rainfall is 2,289 mm per year.

Administratively
West Sumatra Province is divided among 8 regencies and 6 municipals with Padang as its capital city.

Demography
The people of this province have a strong tradition leaving their hometown to make their way of life. Indeed, West Sumatra communities (Minang) are easily found in each province of Indonesia. In 1994, the total population reached 4,265,900 people with its density amounted to 101 people per Km2. In the 1990-1994 period, the people grew at a rate 1.6% per year or in the lower level that of the population national growth amounted to 2.144% per year.

Garut Regency Tourism Resorts

2008-09-15T22:55:00.002+07:00

On March 2 nd , 1811 Balubur Limbangan Regency was wiped out by Governor General Herman W. Daendels (Dutch Colonial). Its Regent, Tumenggung Wangsakusumah II was honourable resigned. Balubur Limbangan Regency comprised 6 sub-districts: Balubur, Malangbong, Wanaraja, Wanakerta, Cibeureum and Papandak.

On February 16 th, 1813 new Limbangan regency was founded by Liutenant Governor Thomas S. Raffles which now becomes Garut Regency.

RAA. Adiwijaya was the first Regent of Garut Regency who governed from the year of 1813 until 1821. He was well-know for his call of Dalem Cipeujueh.

On February 16 th, 1813 new Limbangan regency was founded by Liutenant Governor Thomas S. Raffles which now becomes Garut Regency. RAA. Adiwijaya was the first Regent of Garut Regency who governed from the year of 1813 until 1821. He was well-know for his call of Dalem Cipeujueh.

Garut is one of the regencies in Southern West Java with the area of 306.519 hectares or 3,006.88 square kilometers. Geographically, it lies between 657'34"-744'57" latitude and 107 24'34"-108 7'34 longitude. , belonging to West Java Province region in Indonesia where its borders are the follows;

• Eastern Side : Tasikmalaya Regency
• Western Side : Cianjur and Bandung Regency
• Northern Side : Sumedang Regency
• Southern Side : Indonesian Ocean

This area includes valley territory surrounded by volcanoes (mount Karacak:1838m, mount Cikuray:2821 m, mount Guntur:2249 m, mount Papandayan 2622 m in the Northern side with the average heights of 700 - 750 meters over sea level . There are the streams of frozen lavas on their slopes. In general Garut has cool and tropical climate with the average temperature of 24.3 Celsius degree, whereas the rain falls are average of 2,589 millimeters per-year.

The typology of land fertility is various because of being influenced by mountains, river stream and coastal lowland territories. With the mentioned condition the potency of Garut Regency's territory I dominated by agricultural businesses especially plantation, food plant, animal husbandry followed by forest resources.

Some of specific and well known commodities from Garut are Garut Orange Fruits (Jeruk Garut), Garut Lamb (Domba Garut), Dodol Garut (delicious specific snack from Garut), Vetiver Root Oil /Andropogon Zizanioides (Minyak Akar Wangi), Batik Tulis Garutan (hand painting clothes), Silk Worm Clothes, Gemstone, Leather Craft, and Bamboo Craft. Garut Orange commodity plant located at mountain hill area at Wanaraja, Samarang and Bayongbong District. That all location most popular in Indonesia as mountain hill area with highland view more than sea level 900 m - many kind of fruits and vegetable production. Since a long time ago, when Indonesia have been Dutch colonization, Garut orange are kind variety classified as one of Indonesia famous exotic fruits in the world. Garut Orange has a good taste, good coloring, thick skin textures, and good aroma. Until, a moment, CVPD ( citrus vein phloem degeneration/) damaged it.

Administratively, Garut regency consists of 42 sub districts and 419 rural districts with 2.173.623 people (1.106.473 males and 1.067.150 females). Garut Regency constitutes the buffer land and hinterland for the development of Bandung Raja's territory, has strategic position and the supplier for the needs of Bandung municipality and regency's populations all at once it takes a rote in restraining environmental equilibrium.

Based on the characteristic of the territory, Garut Regency is divided into two territories.

• The territory of Northern Garut consists of upland which constitutes the largest rice field in Garut regency and in general it consists of upland with mountains and range of hills.
• The territory of Southern Garut most consist of sloping land and flowed by twelve rivers going in directions of south and emptying into Indonesian Ocean .

The potencies of tourist resort in Garut Regency, not only coastal panorama and its sea but also crater, waterfalls. Lakes and a hot water place supported by fresh and cool air are much enjoyed by local tourist or those being out Garut Regency even foreign tourists instead. So it is reasonable at if Garut Regency had the call "Swiss Van Java" in the Dutch Colonial Period.

Garut Event :

Ram Fighting Dexterity
		Ram Fighting dexterity is an people game accompanied by Kendang Pencak traditional arts for making atmosphere more lively. Ram Fighting dexterity has esthetical value at the rams take preparations and their heads collide each other. Beside that fighting ram have strong, beautiful, energetic bodies and nice movement while fighting.
This event is usually performed in June, August and December in three places that is : Ngamplang, Cangkuang and Ranca Bango.

Cangkuang Water Feast
		This event is a routine in the framework of commemorating Indonesia 's independent day. The activity appeared is the race of rowing rafts, the race of catching ducks, etc accompanied by traditional arts of calung and pencak silat, usually held in August.

Ngalungsur Ceremony
		Ngalungsur is a process of ritual ceremony where the inheritance heirlooms of Sunan Rohmat (Sunan Godog) every once a year cleaned or washed with flowers water and rubbed with perfume in or not to rusty. It is usually held on every the twelfth of Maulud month. Beside that there is performance of Garut specific arts.

Begendit Festival
		Bagendit festival is a people feast held year. Several kinds of arts are presented, both traditional arts like lais, debus, hadro, etc and modern arts. Besides that water sports is also shown or raced.

"Helaran" Tradisional Art Festival
		Helaran arts performance is a show from of several kinds of traditional arts which ever existed and developed in Garut either still intact, original or having been developed and then visualized by walking in procession in the street. Helaran is held every March in coincidence with the anniversary of Garut city.

"Seba" Ceremony
		Seba ceremony is a devotion to someone occupying high position accompanied with delivery of something good. As for that delivery it is directed to ancestral souls that is Prabu Siliwangi and Keyan Santang because the two figures had high knowledge's supranatural powers, so their heirlooms have hidden and magic powers.


Shoutern Marine Feast
		This event is a people ceremonial feast and arts performance usually held at Santolo beach (Pameungpeuk).

Mojang Jajaka Festival
		This event is a creativity arena of young generations who have love of art and high worth of traditional culture and are able to appeared as tourism enjoys of Garut Regency. Mojang Jajaka contest is usually held in July.

(source : www.garut.go.id)

Badui, Banten

2008-08-15T00:01:00.007+07:00

The Baduy, who call themselves Kanekes, are a traditional community living in the western part of the Indonesian province of West Java. Their population of between 5,000 and 8,000 is centered in the Kendeng mountains at an elevation of 300-500 meters above sea level. Their homeland in West Java is contained in just 50 km² of hilly forest area 120 km from Jakarta, Indonesia's megalopolis of high-rises and fast cars. The Baduy are divided into two sub-groups; the Baduy Dalam (Inner Baduy), and the Baduy Luar (Outer Baduy). No foreigners were allowed to meet the Inner Baduy, though the Outer Baduy do foster some limited contacts with the outside world.

Language

The Baduy speak a dialect derived from archaic Sundanese. However, modern Sundanese and Javanese influences in their archaic dialect can be heard in their speech.

Religion and Beliefs
The religion of the Baduy is known as Agama Sunda Wiwitan, a combination of traditional beliefs and Hinduism. However, due to lack of interaction with the outside world, their religion is more related to Kejawen Animism, though they still retain many elements of their original Hindu-Buddhist religion, like the terms they use to define things and objects, and the rituals in their religious activities. A certain amount of Islamic influence has also penetrated into the religion of a few of the Baduy Luar in recent years, with some original ideas thrown in for good measure. The ultimate authority is vested in Gusti Nu Maha Suci, who according to the Baduy sent Adam into the world to lead the life of a Baduy. The Baduy also observe many mystical taboos. They are forbidden to kill, steal, lie, commit adultery, get drunk, eat food at night, take any form of conveyance, wear flowers or perfumes, accept gold or silver, touch money, or cut their hair. Other taboos relate to defending Baduy lands against invasion: they may not grow sawah (wet rice), use fertilizers, raise cash crops, use modern tools for working ladang soil, or keep large domestic animals. There is evidence that they were originally Hindu, and adopted this many centuries before foreign influence including Arab (Islam), European (Christianity) etc.

Social Classes

Generally speaking, the Baduy are divided into two groups: The Baduy Dalam and The Baduy Luar. The community of villages in which they live are considered mandalas, derived from the Hindu/Buddhist concept but referring in the Indonesian context to places where religion is the central aspect of life. The population of about 400 Baduy Dalam consists of 40 families Kajeroanl who live in the three villages of Cibeo, Cikertawana, and Cikeusik in Tanah Larangan (forbidden territory) where no stranger is permitted to spend the night. They are probably the purest Baduy stock. The Dalam follow the rigid buyut taboo system very strictly,( see Religion and Beliefs for more information about their taboos ) and thus they have made very few contacts with the outside world as they are considered as "People of the sacred inner circle". The Dalam are the only one of these two major clans that have the Pu'un, the spiritual priest of the Baduy. The Pu'un are the only people that visit the most hallowed and sacred ground of the Baduy which lies on Gunung Kendeng, in a place called Arca Domas. Unlike the Luar, the Dalams are hardly influenced by Islam. The Baduy Luar make up the remainder of the Baduy population, living in 22 villages and acting as a barrier to stop visitors from entering the Sacred Inner circle. They do follow the rigid taboo system but not as strictly as the Dalam, and they are more willing to accept modern influence into their daily lives. For example, some Luar people now proudly sport the colorful sarongs and shirts favored by their Sundanese neighbours. In the past the Baduy Luar only wore only their homespun blue-black cloth, and were forbidden to wear trousers. Other elements of civilization (toys, money, batteries) are rapidly infiltrating especially in the villages to the north, and it is no longer unusual for an outer Baduy to make a journey to Jakarta, or even to work outside as a hired hand during the rice planting and reaping seasons. Some even work in big towns and cities like Jakarta, Bogor and Bandung. Animal meat is eaten in some of the outer villages where dogs are trained for hunting, though animal husbandry is still forbidden.

History

Some people believe that the Baduy are the descendants of the aristocracy of the Sunda Kingdom of Pajajaran who lived near Batutulis in the hills around Bogor; their domestic architecture follows most closely the traditional Sundanese architecture. Pakuwan known also as Sunda Kelapa, the capital of Pajajaran, was destroyed by invading Falethan Muslims in 1579. However, the Baduy today are increasingly losing touch with their Hindu culture and increasingly getting closer to nature both in their own religion and their life, as they use no electricity, fertilizer or irrigation techniques in their farming. Another theory suggests that they originate in northern Banten; pockets of people in the northern hills still speak the archaic dialect of Sunda that the Baduy use.

Education

Even today, despite the ways that Suharto tried to force them to change their lives and build modern schools in their territory, the Baduy opposed the government. As a result, very few Baduy are able to read or write. Jesuit Priest, Father Wayne P. Penaflorida is a leading proponent for education of all Baduy.

Kampong Naga, Tasikmalaya West Java

2008-08-14T23:44:00.006+07:00

Kampong Naga is a traditional village with extent about 4 hectares area. It can be reach through highway connecting Tasikmalaya and Bandung via Garut, which is about 30 km west to Tasikmalaya. Administratively, Kampong Naga is part of Dusun (a cluster of village) Legok Dage of Neglasari Village of Salawu Sub District.

The attraction of kampong naga is a unique life of community live there. They socialize with modern society, embraced Islam, but strictly hold custom and tradition from their ancestor. They perform Islamic Holidays rituals, such as Mulud or Alif ritual with conducting Pedaran (reading the history of their ancestor). This begin with taking a bath in Ciwulan River and they allow tourists to participate in ritual as long as they adhere to the rules.

All buildings (house, mosque, meeting hall, rice barn) have the same shape. They all have roof made of palm leaves with palm fiber ridge, their walls are made of woven bamboo, and doors are made of rattan fiber. All buildings face on the north or south, while pile of stones arranged in orderly fashion are unique architecture and ornament of Kampong Naga.

A. MARKET PROSPECT
Many tourists have come to this place because of
its strategic location. According to Tourism Office of Tasikmalaya, The foreign tourists in 1997-2000 were 33,629 people, while domestic tourists were 106,536 people. The revenue of this tour object can be classified as on target or even over-target. But if looking over its nominal revenue, it is on 4th compared the whole tourism objects. As illustration, the target revenue in 2000 was Rp 2,000,000, while its realization was 2,162,000, or about 108,10% of target revenue.

B. INVESTMENT OPPORTUNITY

Physical investment on Kampong Naga has to be restricted to avoid the damage of unique culture of Kampong Naga. This tour object is transit place to other tour objects. The possible investment opportunity is tourism promotion.

Culture of West Sumatra

2008-08-14T05:46:00.002+07:00

Climate
The temperature of West Sumatra province has ranges between 22o C and 32o C, and the rainfall is 2,289 mm per year.

Administratively
West Sumatra Province is divided among 8 regencies and 6 municipals with Padang as its capital city.

Culture of North Sumatra

2008-08-14T05:36:00.003+07:00

North Sumatra is one of Indonesia's last surfing frontiers. "North Sumatra" consists of 5 islands or island groups: Hinako Islands, Nias, Telos and 2 other obscure island groups to the north. North Sumatra receives similar swell to Mentawais and enjoys its peak swell season from May to September. Despite Indonesia's reputation for hollow lefts, in North Sumatra right-handers are slightly more prevalent. While Lagundri Bay at Nias has been surfed for decades, it is the more obscure rights like Bawa (a Sunset-like right bowl that holds up to 15 feet) and Treasure Island (a long, hollow, mechanical right peeling for 200 meters) that have attracted the attention of late. Throw a mix of hollow and bowl lefthanders into the picture like Asu, Afulu, the Machine, and many more obscure rights and lefts.

In contrast to the small island of Bali, North Sumatra province is large with one of the biggest lakes in the world, Toba Lake, at its navel. The continuous mountain of Bukit Barisan, which extends from Aceh at the tip of Sumatra island to Lampung at the bottom of the island, guards the province on the west side, providing home for thick, tropical jungles and lush vegetations. As you go down the western mountains towards the beaches of the east, mountain streams, strong rivers, and gorgeous waterfalls will accompany you.

Along the length of this province crosses Bukit Barisan Mountains with peaks of numerous volcanoes. The land has thick virgin forests, lush vegetation, rice fields, mountain streams, rivers, waterfalls and sandy beaches. It has a rich flora and fauna. An abundance of birds, butterflies, buffaloes, deer, mouse deer, orangutans and many other export commodities make North Sumatra one of the richest provinces in Indonesia, as it produces more than 30 % of Indonesia's exports. The province offers the visitors, especially nature lovers, beautiful tropical panoramas, terraced rice fields, blue mountains, jungle covered hills, white sandy beaches, music, dance and folk arts.

Relative to Bali, North Sumatra has very heterogeneous ethnic groups, and thus, cultures. The people of the eastern coasts, also known as the Malays (Melayu) have markedly different traditions and culture from Batak highlanders who live around Toba Lake and Samosir Island. Further south, the Mandailings and Angkolas, and Nias Island, have yet more flavors of traditions and culture. Besides them, there are several ethnic groups who live in Medan and other towns of North Sumatra. Its largest groups are Chinese and Indian, who being naturalized Indonesian citizens. Other Indonesian tribes like Acehnese, Minangkabau, Javanese, etc also live in many parts here. Each of the mentioned tribes as well as the ethnic groups has its own dialect, religion, beliefs, traditional customs, etc. Arts and cultures make this region, a paradise for social scientists. Among the ancient Indonesian cultures, which can be seen at Samosir Island, are the centuries old tombs of Batak Toba kings and a stone-table with its benches, where the Siallagan chiefs formerly held meetings.

Geographically
North Sumatra province has 70,787 sq km width. Geographically, it is located between 1o and 4o North Latitude and between 98o and 100o East Longitude. The area is Borders with:

North side: the special territory of Aceh
South side: West Sumatra Province and Riau Province
West side: Indian Ocean
East side: Malacca Strait

Administratively
North Sumatra Province is divided among 11 regencies, 6 municipals, and 3 administrative towns with Medan as its capital city.

Geology
Composed of coastal areas, lowlands, plateaus, and mountains.
Humidity: Varies between 79% and 96%.
Climate
As one of Indonesia islands, North Sumatra has rainfall of 1,100-3,400 mm per year. It temperature is range between 18o C and 34o C.

Demography
Historically, North Sumatra Province has a migration flow of population either from other provinces because of the existence of heavy plantation in this province or migration to other areas for studying and expanding business. Since population mobility is high, there are multi ethnics on the community. In 1994, the population density of North Sumatra Province reached 157 people per Km2. Compared to the average national population growth (2.144% per year), this province was on the lower level with 1.53% per year. The projection population composition in 1997 can be seen on the following table.

Batik Painting

2008-08-11T15:20:00.006+07:00

Batik (Javanese-Indonesian pronunciation: [ˈba.teʔ], but often, in English, is [ˈbætɪk] or [bəˈtiːk]) is an Indonesian word and refers to a generic wax-resist dyeing technique used on textile. The word originates from Javanese word "amba", meaning ”to write” and the Javanese word for dot or point, "titik."

It is known to be more than a millennium old, probably originating in ancient Egypt or Sumeria. There is evidence that cloth decorated through some form of resist technique was in use in the early centuries AD.[citation needed] It is found in several countries later in West Africa such as Nigeria, Cameroon and Mali, or in Asia, such as India, Sri Lanka, Bangladesh , Iran, Thailand, and Malaysia, but the most popular are in Indonesia. The art of Batik reached its highest achievement in technique, intricate design, and refined aesthetic in Java, Indonesia. The island of Java has been well known for its exquisite batik for centuries, particularly in places such as Yogyakarta, Solo, Cirebon, and Pekalongan.

Culture

Batik has been both an art and a craft for centuries. In Java, Indonesia, batik is part of an ancient tradition, and some of the finest batik cloth in the world is still made there.

Contemporary batik, while owing much to the past, is markedly different from the more traditional and formal styles. For example, the artist may use etching, discharge dyeing, stencils, different tools for waxing and dyeing, wax recipes with different resist values and work with silk, cotton, wool, leather, paper or even wood and ceramics.

Batik is historically the most expressive and subtle of the resist methods. The ever widening range of techniques available offers the artist the opportunity to explore a unique process in a flexible and exciting way..

Procedure

A batik painting depicting two Indian women.

Dipping a cloth in a dye.

Melted wax is applied to cloth before being dipped in dye. It is common for people to use a mixture of bees wax and paraffin wax. The bee's wax will hold to the fabric and the paraffin wax will allow cracking, which is a characteristic of batik. Wherever the wax has seeped through the fabric, the dye will not penetrate. Sometimes several colors are used, with a series of dyeing, drying and waxing steps.

Thin wax lines are made with a canting needle, a wooden handled tool with a tiny metal cup with a tiny spout, out of which the wax seeps. Other methods of applying the wax onto the fabric include pouring the liquid wax, painting the wax on with a brush, and applying the hot wax to precarved wooden or metal wire block and stamping the fabric. After the last dyeing, the fabric is hung up to dry. Then it is dipped in a solvent to dissolve the wax, or ironed between paper towels or newspapers to absorb the wax and reveal the deep rich colors and the fine crinkle lines that give batik its character. The invention of the copper block or cap developed by the Javanese in the 20th century revolutionised batik production. It became possible to make high quality designs and intricate patterns much faster than one could possibly do by hand-painting. Indonesian batik used for clothing normally has an intricate pattern. The traditional ones carry natural colors while the contemporary ones have more variety of color. Some batik may be mystic-influenced, but very rarely used for clothing. Some may carry illustrations of animals and people. (Source : wikipedia)

Candi Mendut (Mendut Temple), Cental Java

2008-08-11T07:58:00.003+07:00

Mendut Temple is the older temple than Borobudur Temple. There are stories for children on its walls. It is located 1 km to the east of Pawon temple. There are magnificent statues of Buddha inside the temples. For Waisak ceremony, the offering and the praying start in this temple.

Mendut Temple is frequently used to celebrate the Waisak day every May full moon and the pilgrims from Indonesia and all parts of the world come to this ceremony. Its architecture is square, and have an entrance on its steps. Its roof is also square and terraced. There are stupas (= bell-shaped structures) on it.

There are three big statues inside, they are:

Cakyamuni sitting in cross legged pose with dharma cakra mudra (= turning the wheel of dharma hand pose)
Awalokiteswara, a bodhi satwa as human being helper.
Awalokiteswara is a statue with Amitabha on her crown, Vajrapani. She is holding a red lotus and put on her palm.
Maitreya, a savior of human beings in the future.

There are stories for children on its walls.

Candi Mendut (Mendut Temple) is frequently used to celebrate the Waisak day every May full moon and the pilgrims from Indonesia and all parts of the world come to this ceremony.

Saman Dance, Nangroe Aceh Darussalam

2008-08-09T14:33:00.005+07:00

"Saman" the most popular dance in Aceh and the dance that has become well-known abroad with the name "Thousand hands". It has its origin from the Alas ethnic group and is normally performed to celebrate the birthday of the Prophet Muhammad. and other important occasions. Eight to twenty male performers kneel in a row on the floor and make different kinds of torso movements accompanied by songs, clapping hands, slapping chests, slapping hands on the floor, etc. The songs are praises to Allah or prayers. The dance starts with slow movements and increases its tempo gradually to great speed and finally come to a sudden stop. There are many different regional versions of "Saman"
Meuseukat"Meusekat" is almost the same as "Saman". The only difference is that "Meusekat" is performed by women and originates in west and south Aceh. (Sources: Aceh.net)

The Dramatic of Kecak Dance, Bali

2008-08-08T06:16:00.008+07:00

The Kecak dance is one of the most famous of Balinese dances. It is unusual because it has no musical accompaniment like many other Indonesian dances do, the rhythm of the dance is produced by the chanting 'monkey' chorus. Instead, a troupe of over 150 bare-chested men serve as the chorus, making a wondrous cacophony of synchronized "chak-achak-achak" clicking sounds while swaying their bodies and waving their hands .From that chanting noise of "Cak-cak-cak", then it gave the dance its name Kecak.

What makes the Kecak such a fascinating dance to watch are the fifty or so men in the checkered pants. They are both the choir and the props, providing the music for the story in a series of constant vocal chants that change with the mood of the actors. They don't sit still, either, they wave their arms to simulate fire, and reposition themselves around the stage to represent wind and fire, prison cells, and unseen hand of protection from the gods.

The dance is played in five acts and lasts roughly 45 minutes. It taken from the Hindu epic Ramayana, which tells the story of Prince Rama and his rescue of Princess Sita, who has been kidnapped by the evil King of Lanka, Rahwana and somehow with the help of the white monkey army, Rama rescues his wife and defeats the evil Rahwana.

Attending a Kecak recital is a must for any visitor to Bali. It is a wondrous experience, and a window into the musical and artistic culture that make the Balinese a special people.

Reog Ponorogo

2008-08-08T06:05:00.001+07:00

Reog is a traditional dance that become the main identity for Ponorogo regency.
Because of this, Ponorogo is also known as Reog city.
This theatre has been known wide in Indonesian even foreign tourists.
Reog National Festival is held every years along the anniversary of Ponorogo regency and Grebeg Suro celebration.
Reog dance is also staged full moon nightly in paseban, Ponorogo Town Square.
Reog told about the struggle for a prince who will propose to a lovely pretty princess .
This dance is staged about 25 - 40 dancers and the musician.
The interesting of Reog is his main leading figure named Singo Barong.
The dancer of Singo Barong bear the mask about 30 - 40 kg weight and supported by the strength of their teeth.
The other leading figure in Reog include Kelono Sewandono, Bujang Anom, Jatil and Warok.
The visitors can enjoy this traditional dance only in Ponorogo, East Java - Indonesia. The only area that has REOG dance is Ponorogo, not in other country.

2008-08-08T05:53:00.004+07:00

GALUNGAN ( August 20, 2008 ) and KUNINGAN (August 30, 2008) DAY
Hindu Ceremonies of Bali

The day commemorated as the victory day of "Dharma" (virtue) upon "Adharma" (evil) according to the old history of Bali (Purana). This day the Hindus thank the God and feel grateful for His blessing and for the creation of the earth and its contents. This day is the day of rituals, festivities and celebrations with "Penjor" the artistically decorated bamboo-pole stuck at every house entrance, adorning the both sides of the village-roads symbolizing of prosperity.
There are several processions need to be done to celebrate Galungan Day:

	PENYEKEBAN (3 days before Galungan) On this day, people begin to prepare the necessities for the Galungan ceremony. They collect fruits and store them in a special place until they get ripe.
	PENYAJAHAN (2 days before Galungan) On Penyajahan day, people keep on maintaining awareness, patience and the purity of the soul in order to control the demons. Another meaning of Penyajahan is making or cooking Balinese cakes (jaja). Therefore, on this day, people have to cook various kinds of Balinese cakes for the ceremony to come.
	PENAMPAHAN (1 day before Galungan) This is a sacrificial day. This is the day to slaughter sacrificial animals like chickens, ducks or pigs. People cook them into various kinds of Balinese food, such as satay, soup, lawar (a special Balinese food made of meat or vegetables, mixed with coconut sauce).
	GALUNGAN DAY On the Galungan day itself, Balinese Hindus go to temples and other holy places to pray. People are dressed in colorful Balinese costumes. Women carry the offerings on their heads and men bring palm leave offerings in their hands, while the children walk hand in hand next to their parents.
	MANIS GALUNGAN (1 day after Galungan) On this day, Balinese Hindu communities usually visit their relatives, friends and neighbors. They forgive each other and remain together. It is also a day to relax and visit places of interest, after the long days of preparations for the celebration.
	KUNINGAN DAY The last day of Galungan celebrations, believed as the rising day of the holy spirits and deities back to heaven on this day, special offerings consisted of yellow rice and temples look amazing with ornaments made of young coconut leaves and flowers.

( source : kiranaspa.com )

Ngaben, Cremation Ceremony, Bali

2008-08-06T16:46:00.012+07:00

Ngaben or the Cremation Ceremony is the ritual performed to send the dead through the transition to his next life. The village Kul Kul, hanging in the tower of the village temple, will sound a certain beat to announce the departure of the deceased. The body of the deceased will be placed at Bale Delod, as if he were sleeping, and the family will continue to treat him as if he were still alive yet sleeping. No tears are shed, for he is only gone temporarily and he will reincarnate into the family.

The Priest consults the Dewasa to determine the proper day for the ceremony. On the day of the ceremony, the body of the deceased is placed inside a coffin which is then placed inside a sarcophagus in the form of a buffalo (called Lembu) or a temple structure called Wadah made of paper and light wood. The Wadah will be carried to the village cremation site in a procession.

The climax of Ngaben is the burning of the Wadah, using fire originating from a holy source. The deceased is sent to his afterlife, to be reincarnated in the future.

( source : indo.com )

Larung Sembonyo Ceremony, Trenggalek, East Java

2008-08-05T17:33:00.009+07:00

Bay public myth Prigi about making of is Prigi bay area is genesis existence of ceremony Larung sembonyo.Public Prigi approximant entirely believe in Islam, but they feel less tentram its life if leaving tradition and ceremony Sembonyo being believed to balance with vinicity nature and the universe. Ceremony Sembonyo is done each month Selo, day senin Kliwon every year.
His execution done by fisherman public and farmer relate to living as fisherman, farmer and is supporting facilities for unutuk respect the meritorious ancestor in opening bay area Prigi. They don’t wish to forget service Tumenggung Yudo Negoro as warrior at the same time as countryside founder Tawang, Tasikmadu. If they neglect fear there are trouble, difficult in penanngkapan fish, agriculture crop failed, arise epidemic, natural disaster etcetera.

Ceremony Larung sembonyo in the year 1985 executed on a large scale after is before all desisted situation effect of politics. Commemoration of that moment is assisted by Pemda kab. Trenggalek for the agenda of promotion Upacara Sembonyo tourismÂ is executed full of condition of condition, and multifarious prohibition. This thing influence public character Prigi, specialy of fisherman public requiring assidinity, manful and bravery challange lethal, what peep every when. Farm sea him, sea place of portion it.

Java and Bali's Traditional Dance

2008-08-05T16:36:00.004+07:00

Wayang topeng.

Masked dance was also popular at the eastern Javanese courts (c. 1000-1400) and may be related to ancient animistic masked dance seen throughout the Pacific islands. Later, Indian dance style was assimilated, and sometime after the 15th century at the earliest, the Pandji story was dramatized. This is wayang topeng, widely performed as both a sophisticated and a folk art throughout Indonesia. Unlike the large-scale unmasked dance-drama, topeng dance focusses on interpreting character through solo dance.

Wayang Topeng

Wayang orang.

Java's spectacular dance-drama, wayang orang, grew out of the strong unmasked dance tradition that is illustrated in reliefs of female dancers carved on the 9th-century Borobudur and Prambanan temples in central Java and that produced the carefully cultivated female group dances of the Surakarta and Jogjakarta courts after their establishment in the 16th century. Of the latter dances, two stand out, the almost sacred bedaja, which even today is danced only in court surroundings, and the srimpi, in which two pairs of girls execute a delicate slow-motion duel with daggers and bows. In the middle of the 18th century, wayang kulit's Rama and Pandawa plays were set to court dance to form wayang orang, or "human" wayang. The music, narrative, and dramatic organization of the shadow play was kept largely intact, many of the actors' movements mimicking the stiff actions of the puppets, while new dance sections were added. Court performances stopped with World War II, but wayang orang continues to be performed by some 20 to 30 professional troupes in major cities. In popular performances, attractive actresses play the roles of such refined heroes as Ardjuna and humour and spectacle take precedence over dance.

Wayang Orang

Ketoprak and ludruk.

Two other types of popular theatre, ketoprak and ludruk, were performed in Java by 150 to 200 professional troupes. Ketoprak, created by a Surakarta court official in 1914, evolved into a spoken drama of Javanese and Islamic history in which the clown figure is a spokesman of the common man. Whereas ketoprak is performed primarily in central Java, ludruk, a spoken drama that handles mainly contemporary subject matter, is performed in eastern Java by both amateur and professional troupes. Though ludruk is relatively realistic, male actors play all roles. Songs and dances, accompanied by gamelan music, are performed between acts in both forms.

Sundanese performing arts.

There are three main performing arts in the Sundanese area of western Java. Reog, a kind of urban folk performance, can be seen especially in the streets of Jakarta: two or three men improvise popular songs, dances, and dramatic sketches for a neighbourhood audience in this type of entertainment. Wayang golek is a performance based on wayang kulit but using doll puppets without a screen. Approximately 500 Sundanese puppeteers perform wayang golek. Female singers, who are almost as important as the puppeteer, respond to requests and gifts of money by singing song after song and virtually stopping the play. Sandiwara troupes in Jakarta, Bandung, and a score of other cities perform both wayang stories in the form of Sundanese dance-drama and spoken historical and contemporary dramas for popular audiences. Sundanese-style court dances and topeng masked dances are often performed solo at festivals and for circumcision or wedding celebrations in private homes. Sundanese dance is more sensuous than Javanese and broader in style.

Balinese dance-drama.

Of the many factors that have contributed to the remarkable flourishing of dance and drama on the island of Bali for more than a millennium, three are of particular note. First, Bali remained isolated from both Islam and the West. Second, there was a merging of folk and court performance styles into a single communal tradition appreciated by all. Third, dances and plays are indissolubly linked to the recurring cycles of local festivals and rituals whereby the well-being of the community is maintained against constantly threatening malicious forces in the spirit world. From the verve and brilliance of Balinese performances it is clear not only that the people like to perform but also that there exists some culturally determined compulsion to do so.

Balinese dance and dramatic forms are so numerous that only a few can be noted. Balinese villagers playing in the barong exorcism dance-drama are not merely actors exercising theatrical skills. The actors' bodies, going into a trance, are believed to receive the spirits of Rangda and the Barong, and it is the spirits themselves that do battle. Thus the performance is actually more a ritual than a piece of theatre. The sanghyang dance is usually performed by two young girls who gradually go into a state of trance as women sing in chorus and incense is wafted about them. Supposedly entered by the spirit of the nymph Supraba, the girls rise and dance, often acrobatically, though they have been chosen from among girls untrained in dance. The dance's purpose is to entice Supraba to the village to gain her blessing when evil forces threaten. In the ketjak, or monkey dance, as many as 150 village men, sitting in concentric circles around a flaming lamp, chant and gesticulate in unison until, in trance, they appear to have become ecstatically possessed by the spirits of monkeys. This performance, however, has no ritual function of altering an earthly condition.

Barong Dance

That the Balinese wayang kulit may represent the older style of wayang, known on Java before the coming of Islam, is suggested by the less stylized shape of the puppets, by the shorter performing time of four to five hours, and by the simple music of only four gender, a bronze instrument similar to a xylophone with resonance chambers underneath, from the gamelan ensemble. In one type of shadow play having a special religious significance, the puppets perform before a screen during the daytime, and the puppeteer is seen in his role as a Brahman priest, bare to the waist. In the redjang processional dance, village women symbolically offer their bodies to their temple gods.

Because Balinese performing arts are vitally alive, they change from decade to decade, even from year to year. The gambuh, respected for its age, contains elements of dramatic dance, song, narrative, and characterization found in later forms. It is thought dull, however, and is seldom performed, though it is believed to have provided the model for the singing style of popular ardja opera troupes and the dance style of the lovely girls' legong. Wayang wong is analogous to the Javanese wayang orang, but masks are worn and the repertory is limited to Rama plays. Pandawa plays are staged in identical style but are called parwa. It has been suggested that these forms also stem, at least in part, from gambuh. Wayang topeng masked-dance plays are ancient, being mentioned in a palm-leaf document of 1058. The Javanese chronicle of the Majapahit period (c. 1293-1520), the Pararaton, in which Ken Angrok is the hero, is a favourite tapeng story. This points to the strong influence exerted by Javanese on Balinese arts after the Majapahit court was transferred to Bali in the 16th century to escape Islamic domination.

Karapan Sapi ( Cows contest ), Madura

2008-08-05T16:26:00.007+07:00

Karapan sapi is a tournament that hold in Madura East java. This tournament is special for people in Madura or people who come to Madura to watch this tournament. We can see in this tournament people who stir two cows on a stalk of wood. You will see how interest this tournament is. Many competitor come to place where they can make danger effort to become the winner.

The cows owners should have a preparation at least a month to make sure that their cows are in good condition. They must have enough money if they want to joint in this tournament. Why not, to do this preparation they can spent at least Rp 5000.000 to cost many equipment and pay for cows need. It is not usual, a cow that will be participated in tournament has to be given double portion of food. Cow are washed two times per week before they come to the tournament.

Most of cows that participated i this tournament are from Sapudi island. This island is located on the east of Madura Island and it is believed that this island was the place where Karapan Sapi come from. E.F Joachim the historian from Holland said since 1893 Karapan sapi has became culture in Sapudi Island

( Source : Tamanwisata )

History of Wayang Kulit ( Leather Puppet )

2008-08-05T16:04:00.007+07:00

Wayang is a generic term denoting traditional theatre in Indonesia. There is no evidence that wayang existed before Hinduism came to Southeast Asia sometime in the first century CE. However, there very well may have been indigenous storytelling traditions that had a profound impact on the development of the traditional puppet theatre.

The first record of a wayang performance is from an inscription dated 930 CE which says "si Galigi mawayang," or "Sir Galigi played wayang". From that time till today it seems certain features of traditional puppet theatre have remained. Galigi was an itinerant performer who was requested to perform for a special royal occasion. At that event he performed a story about the hero Bima from the Mahabharata.

Hinduism arrived in Indonesia from India even before the Christian era, and was slowly adopted as the local belief system. Sanskirt became the literary and court language of Java and later of Bali. The Hindus changed the Wayang (as did the Muslims, later) to spread their religion, mostly by stories from the Mahabharata or the Ramayana. Later this mixture of religion and wayang play was praised as harmony between Hinduism and traditional Indonesian culture. On Java, the western part of Sumatra and some smaller islands traditionalists continued to play the old stories for some time, but the influence of Hinduism prevailed and the traditional stories either fell into oblivion or were integrated into the Hinduistic plays.

The figures of the wayang are also present in the paintings of that time, for example, the roof murals of the courtroom in Klungkung, Bali. They are still present in traditional Balinese painting today.

When Islam began spreading in Indonesia, the display of God or gods in human form was prohibited, and thus this style of painting and shadow play was suppressed. King Raden Patah of Demak, Java, wanted to see the wayang in its traditional form, but failed to obtain permission from the Muslim religious leaders. As an alternative, the religious leaders converted the wayang golek into wayang purwa made from leather, and displayed only the shadow instead of the figures itself. Instead of the forbidden figures only their shadow picture was displayed, the birth of the wayang kulit.

The figures are painted, flat woodcarvings (a maximum of 5 to 15 mm thick -- barely half an inch) with movable arms. The head is solidly attached to the body. Wayang klitikcan be used to perform puppet plays either during the day or at night. This type of wayang is relatively rare.

Wayang today is both the most ancient and most popular form of puppet theatre in the world. Hundreds of people will stay up all night long to watch the superstar performers, dalang, who command extravagant fees and are international celebrities. Some of the most famous dalang in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki Asep Sunarya, Ki Sugino, and Ki Manteb Sudarsono.

( source : wikipedia )

Aceh heritage and places

2008-08-05T15:40:00.004+07:00

Pinto Aceh (Aceh’s door)

It is kind of house door shape, fully engraved. Padlock is not used to keep the door closed, but "neuro" (a kind of pin) is used instead.

The improvisation happens and the shape of Pinto Aceh becomes shape of jewelry as Safety pin, brooch, pendant and bracelet which is usually gold made.

Pinto Khop (the downward door)

It is estimated to be one of the backside gate of Sultan Aceh Palace which connected the Palace and "Taman Gairah" Garden, by the bank of Krueng Daroy river.

Palace building and others were totally destroyed by Dutch Colonial Army the time they occupied them at 31st January 1874.

Height 4.75m (front sight). One of the remain door gate of the backside of Sultan Aceh Palace in Banda Aceh.

Gunongan

Estimated to be built in the era of Sultan Iskandar Muda, the gunongan is located in the middle of "Taman Gairah" Garden where the Krueng Daroy river passed.

It is the place where the Princesses and the Sultan daughters used to take rest and relax. located in middle of "Taman Gairah" Garden by the river bank of Krueng Daroy, Banda Aceh.

Deureuham, Derham, Dirham

The oldest gold currency in Nusantara (Southeast Asia), back to the era of Sultan Muhammad Malik al-Zahir.

Characteristics:
printed in one side: Muhammad Malik al-Zahir.
printed in other side: al - Sultan al - Adil
diameter:+-10 mm
weight: : +- 0.60gram
gold carat: 18 carat

In many places of Aceh (i.e. ex-people settlement and palaces) the similar deureuham are often discovered, (usually in the rainy season, for it appears from the soil), which was used as a legal payment instrument both in the era of Malikulzahir rule or the time later such other Sultan or Sultanate (i.e. Iskandar Muda, Safiat-ad-Din etc).

Cakra Donya

It was a gift offered by a King of China to Sultan Samudra Pasai. Made from metal, this bell was produced in 1409. The bell was moved from Pasai to Banda Aceh since Portuguese was defeated by Sultan Ali Mughayat Syah.

The outer side of the bell is fully ornamed and carved in Arabic and Chinese script. (It is now faded because of time during abandonment by Dutch occupation of Banda Aceh).

Inscription in Chinese characters as follow:

"Sing Fang Niat Fung Juut Kat Vat Co". It can be translated: "Sulan Sing Fa. Poured in 12th month of 5th year". The bell is now displayed in the Negeri Museum, Banda Aceh.

Measurement: Heigth 150 em, radius 50cm and circumference 100 cm.

It is a structure of 10 sides (the two side front side and backside 9,75m, the other eight side 3,80m, total height 10,9m.)

The grave of Sultan Malik al-Saleh or Malikul-saleh.

His original name is Meurah Silu, founder of the Kingdom of Pasai, the first Islamic Kingdom in Indonesian Archipelago. The gravestone made of granite stone carved with Arabic script at the front of it. This is the grave of the deceased who is forgiven, the pious, the good counselor, the respectable and descending from a distinguished family, entitled as Sultan Malik al Saleh.

“This world is cessation of being, it is not everlasting, It likes spider web. Oh the seeker for power, it is enough for you. Life is only temporarily, and everything will die.”

This grave is located near the ruins of main building of the Kingdom of Samudra in the village of Beuringin, Samudra district of North Aceh, about 14 kilometers from Lhok Seumawe.

The grave of Sultan Muhammad Malik al-Zahir, also called Malikuz-zahir, son of Sultan Malik al-Saleh and his wife Princess Ganggang Sari, daughter of Sultan Peureulak. Ruled the Kingdom of Samudra-Pasai around 1297 to 1326.

"This is the grave of His Highness Sultan Malik al-Zahir, the light of the world and the religion, Muhammad bin Malik al-Salih, dead on Saturday night, 12th of Zulhijjrah 726 Hegira (9 November 1326)." .

Located side by side of the grave of Sultan Malik al-Salih, his father.

His title of nobility was "Sultan Maliku'z Zahir Syamsu'dunia wa'ddin Muhammad bin Malik's Saleh."

The grave of Sultanah Nahrisah (1405-1428)

She is one of Sultan Malikussaleh's descendent, It is the best gravestone made from marble in Sumatera. She died on Monday, 17 Zulhijjah 831 Hegira (27 September 1928)

The explanation was carved in Arabic script on the grave:

"This the holy grave of the late Queen Nahrisah ennobled as Bharubhasa Chadiu bin Sultan Haidar bin al Sais al Zainuddin bin Sultan Muhammad bin al Malikul Saleh - may Allah have mercy on them- . Dead on Monday, 17 Zulhijjah 831 Hegira."

The grave is located in the village of Kuta Krueng (Blang Me), Sumatra district, North Aceh, About 15 kilometers from Lhok Seumawe eastward.

The grave of the Prince Abdullah ibnu Muhammad ibnu Abdul Kadir, one of the descendant of Abbasite Calip Al Muntasir (1226-1242) Dead in 810 Hegira (1403).

He was the Prince who saved his life, when Hulagu Khan of Mongol attack happened, where Baghdad was totally destroyed in 656 Hegira (1258).'

located in village of Kuta Krueng (Blang Me), Samudera district, North Aceh, about 15 kilometers from Lhok Seumawe.

The grave of Naina Hisana bin Naina. The inscription is in Persian. Died in 1420. Craved on the gravestone a poem in gazal style of famous Islamic poet Sheh Muslim al-Din Sa'di (1193-1292). You can see it in village of Blang, Samudera district, about 15 kilometers from Lhok Seumawe eastward, North Aceh.

A poem in Persian language was engraved in Arabic characters with "gazal" style, of famous Arabic poet work, Sheh Muslih ai-Din Sa'di (1193-1292).

The poem translation:

Uncountable years pass like spring from where the water flow. The life is actually accumulation of human days. So why people who transit in this world feel so arrogant??

Oh friend. When you pass enemies grave by, do not be so glad, because such thing could happen to you.

Oh the arrogant people. The does will come into your buried bone like the powder come into its box.

Who is arrogant today because of his shine dresses, he will buried tomorrow and it remain nothing but evaporation.

This world is full of competition with a little of passionate. When he get aware, the whole of those happened were gone, leaved him powerlessly.

That is the fact of your body you see it laid down in the soil. Who meets important events could not avoid and even so where to do??

Nothing could help him but good amal.

Sa'di is under protection of the Merciful God shadow.

Oh my God, Please do not torture Your hopeless creature.

Sins always come from our side, and You are very merciful.

The grave of Sultanah of Pasai, descendent of Malik-al-Saleh.

In the Northward direction of the grave (head and inscription is found, in old Sumatera characters in old Melayu language. It is read; "In the year of 781 Hegira, on Friday 14th Zulhijjah, the queen warda, the believe the descendant of Bharubhasa who ruled Kedah and Persia and expanded from time to time, was dead.

Oh Allah, lord of the worlds, place her in the heaven."

In North direction of the grave (foot) we find Arabic inscription which has the same meaning, but refers the different year.

781 Hegira in the head of grave and 791 in the foot, with the same date: Friday: 14 Zulhijjah.

There is an assumption that the Sultanah is one of Sultan Mahmud pasai daughter was coronated as a Sultanah when Pasai was under occupation of Majapahit soldier.

Other assumption said the Sultanah is related to the queen Cermin (or ceureumen in Aceh language), wife of Batara Majapahit who was buried in Leran, Gresik - East Java.

located in Teungku Peuet-Ploh Peuet Funeral complex (44 in the village of Minye Tujuh, Matangkali district 30 kilometers Lhok Seumawe eastward.

( Source : Aceh.net )

Baiturrachman Mosque, Nangroe Aceh Darrussalam

2008-08-05T15:21:00.004+07:00

Masjid Baiturrahman represents one of the first examples of a domed mosque in Southeast Asia. Perhaps more importantly, the mosque is an architectural embodiment of the political role Islam has played in Indonesia. Built by the Dutch in 1879 and completed in 1881, it was intended to appease the Acehnese during the bloody Dutch led Aceh War. Furthermore, additions made to the mosque in 1957 were meant to symbolically link the largely separatist region of Aceh to the Republic of Indonesia.

Masjid Baiturrahman replaced a mosque built six years prior in 1872 by Sultan Nur al-Alam. This original mosque, named Mesjid Raya or Grand Mosque, was said to replicate a 1614 mosque built by Sultan Iskandar Muda with its layers of wide hipped meru roofs. When the kingdom of Aceh resisted Dutch mercantile treaties in 1873, the Dutch invaded Banda Aceh, starting the 30 years Aceh War, and destroying the newly constructed Mesjid Raya. In an effort to persuade the Acehnese to end their resistance, the Dutch rebuilt this central mosque from 1879 to 1881.

The architect de Bruchi modeled the new mosque on a Moghul plan quite unlike any before seen in Southeast Asia. Whereas the pre-extant mosque was laid out on a square plan with a four-tierd meru roof, this new Dutch creation copied many structural, formal and stylistic elements of Mughal mosques. The timber-framed dome, heretofore foreign to Acehnese architecture, was clad in black ironwood shingles, which contrasted with the whitewashed walls of the mosque while its thick timber towers rose above the town profile. These Mughal elements were further embellished with Moorish touches, such as the tear shaped arches with parabolic intrados and the arabesque plaster moldings.

During the twentieth century elements have been added to the mosque in stages. In 1936 two side domes were added. In 1957 a fourth and fifth dome were added at the rear, completing a symbolism of the five pillars of the Indonesian Pancasila. Also in 1957 two minarets were added and the mosque was renamed Masjid Baiturrahman. During the late 1980s, the mosque was refurbished and the grounds landscaped.

Upon its construction, the mosque was received with hesitancy. For many years after the Dutch presented the mosque to Banda Aceh, religious leaders considered it inappropriate for worship and banned the public from using it for prayer. However, today Mesjid Baiturrahman has grown to demarcate the significant religious position of Banda Aceh as Indonesia's "eastern gateway to Mecca" or Serambi Mekah (Mecca's veranda), as well as represent an independent link between the Acehnese umma and the international Muslim community.

Sources:

Ed. Martin Frishman and Hasan-Uddin Khan. 1994. The Mosque: History, Architectural Development and Regional Diversity. London: Thames and Hudson, 240.

Smith, Holly S. 1997. Aceh: Art and Culture. New York: Oxford University Press, 17-18, 45-6, 65-66.

Prambanan and Sambisari Temple

2008-08-05T13:39:00.005+07:00

The Prambanan temple is the biggest and a most beautiful Hindu temple about 20 minutes from Yogyakarta city. This magnificent Shivaite temple derives its name from the village where it is located. Locally known as the Loro Jongrang temple, or the temple of the "Slender Virgin" it is reputed to be the biggest and most beautiful Hindu Temple in Indonesia.

17 kilometers east of Yogyakarta, the temple is believed to have been built by King Balitung Maha Sambu in the middle of the ninth century.

Its parapets are adorned with a bas-reliefs depicting the famous Ramayana story. It has eight shrines, of which the three main ones are dedicated to Shiva, Vishnu and Brahma (all are manifestations of God in Hindu). The main temple of Shiva rises to a high of 130 feet and houses the magnificent statue of Shiva's consort, Durga.

Prambanan Temple is beautiful temple, in fact, it is a group of temples. The biggest temple dedicated to Shiva (one of manifestation of God) with two other smaller ones, on its right and on its left, dedicated to Brahma and Wisnhu (manifestation of God) respectively. Reliefs decorating the walls of the temple depict the story of Ramayana.

Sambisari Temple (From the 10^th Century)

This Shiva temple was discovered in 1966, located about twelve kilometers east of Yogyakarta, on the north of the main road between Yogyakarta and Solo. The temple is very unique. It was covered by volcanic ash and dust because of the eruption of mount Merapi in 1006 and became buried six and a half meters below the surface of surrounding land but remained in perfect condition.

Pura Besakih ( Besakih Temple )

2008-08-05T13:17:00.008+07:00

A climb north, through the astonishing landscapes of Bukit Jambul, ascends over 900 meters up the slopes of Gunung Agung to Pura Besakih, the holiest of all temples in Bali. It originated most probably as a prehistoric terraced sanctuary where worship and offerings were made to the god of Gunung Agung, the dominant landscape element in the Balinese world. Over a thousand years and more, it was enlarged and added to until it grew into the present complex of about 30 temples.

In the 10th century it was apparently a state temple. According to inscriptions kept here, an important event took place in the year 1007. If can only be guessed that this was associated with death rituals for Queen Mahendradatta, Udayana's co-ruier who died the previous year. Since the 1 5th century it was the state temple of the Geigel-Kiungkung dynasty which built a series of small temples in honorof itsdeified rulers. Now it isthe state temple for the provincial and national governments which meet all expenses. Today, Pura Besakih is revered by all Balinese as the "mother temple" of Bali.

Within the Besakih complex, the paramount sanctuary is the Pura Panataran Agung which rears its lofty merus on a high bank of terraces, Steps ascend in a long perspective to the austere split gate. Inside the main courtyard stands the three-seated shrine enthroning the Trisakti, the trinity of Brahma, Visnu and Siwa, During festivals the shrines are wrapped in colored cloth symbolic of the deities. The Pura Panataran Agung and two other important temples higher up the slope likewise together symbolize the Trisakti. In the center Pura Panataran Agung is hung with white banners for Siwa; to the right, Pura Kiduling Kreteg vyith red banners for Brahma; and Pura Batu Mddeg, to the left, with black banners for Visnu. These latter two temples are taken care of by . the Karangasem and Bangli regencies respectively, certain other shrines being the responsibility of the other regencies. All of Bali comes together at Pura Besakih. Religiously, oneness is symbolized in the padmasana in Pura Panataran Agung, dedicated to Sang Hyang Widdhi, the Supreme God.

Pura Besakih is most fascinating at festival times, but it is grand and impressive whenever you go there. The drive up the mountain to Besakih, with a stopover in Klungkung for sight-seeing and shopping, takes a full day. To resume the tour of East Bali, if you are staying in Denpasar, it is best to leave early in the morning the following day. By passing through Klungkung before noon, you may choose a site to lunch on the beach or in the shaded countryside and visit the Bat Cave, tshing villages and Tenganan before reaching Karangasem in mid-afternoon. Now that the new road linking Rendang and Karangasem has been finished, it is possible to make a Besakih- Karangaserm round trip comfortably in a day. You may be lucky to arrive in Bali during a time when eastern villages are holding ceremonies. Festivals, unique to these villages, should not be missed, so check the calendar of events at your hotel to find a good time to visit.

Source : balivision

Keraton Yogyakarta ( Yogyakarta Palace )

2008-08-05T10:44:00.003+07:00

LOCATION:

Karaton Ngayogyakarta Hadiningrat (the official local name of the sultan's palace) is in the center of the city of Yogyakarta ( just Yogya as the local people call it ) the southern end of Jl. Malioboro. Keraton means a place where the Ratu-king lives, other word is Kedaton, with the same meaning. In the Javanese teachings, it has a deep philosophical meaning. Usually visitors are coming from Malioboro Street, southward through the Alun-alun Utara (north square). In order to understand perfectly well the symbolic meaning of the Keraton, one should walk from south to north. Start from Krapyak, a village of about 3 km south of Karaton.

The main palace is located behind Siti Hinggil Pagelaran. If the taxi drops you at the Pagelaran, just find you way by walking to the back.

The entrance fee is about Rp15.000 ($2.00) with optional fee of Rp1.000 if you would like to bring your digital or video camera. Guides are also optional and can be hired at the entrance.

DESCRIPTION:
The word keraton is a somewhat archaic term for the place where the queen lives. There is also another similar word called kedaton which carries the same meaning. In any case, Yogyakarta’s Keraton (modern spelling has it as "kraton") is dedicated for regency's sultan and definitely not for a queen.

The architect of this two-century-old palace complex is the late Sultan Hamengku Buwono I, the founder of the Ngayogyakarta Hadiningrat kingdom. Measuring about 14,000 m² in size, the complex was completed back in 1756 with extensive showcase of Javanese palace architecture.

Lacking pre-travel research before embarking on my trip to the keraton, the first impression of the architecture was none too impressive for me. I guess I had a different idea of what a Javanese palace would look like, coming from an area where the palaces have strong Sumatran ancient roots. My conclusion was that Javanese keraton designs are starkly in contrast with those of Sumatran and Malayan origins.

The compound is rather huge that writing about every highlight along the way will take ages. I will try to mention the more important ones that one could see in the complex.

Right after the ticket booth, you will walk through Sri Manganti gate into a small square. To the left is Bangsal Trajumas in which regal-status gamelan instrument are kept, while to the right is Bangsal Sri Manganti where traditional Keraton dances are held almost daily. Right in front of you is the Danapratapa Gate (Gerbang Danapratapa) that brings you into a bigger square. While the Sultans were devout Muslims, traces of Hindu influence still remain as witnessed at this gate. Here, you can see two big mystical idols flanking both sides.

At the main square, turn left into Regol Gapura, another section of the palace. One interesting fact is that the trees grown within the compound have their own meaning, just like all the buildings of all shapes. They carry subtle messages for the deserving eyes. For example, asem / asam trees ("asem" means "sour") grown mostly in the southern section, signify youthfulness, while pakel tree (a type of mango) signifies the puberty stage. There are also a number of waringin (banyan) trees grown to symbolise the human body.

Then I arrived at a section where photos and tools for various cultural and religious rituals are on display, the most important one is probably the garebeg procession which is held 3 times annually. Then I got the chance to visit the Museum Batik which showcases the history of this exquisite work of arts. No cameras are allowed in this museum.

There are a few other sites that I visited (trying to make it short here): Bangsal Sri Manganti where traditional dance is held almost daily, two dedicated bangsal (hall) where different gamelan instrument are kept, and Ruang Pameran Lukisan (art gallery) with some historic paintings.